English National Ballet: Wheeldon’s Cinderella at Royal Albert Hall, 15-25 June 2023

[Emeralds]

ENB’s second run of Wheeldon’s popular version of Cinderella- the only company currently performing it “in the round”/arena style - opens tonight! Erina Takahashi (Cinderella) and Francesco Gabriele Frola (Prince Guillaume), replacing Emma Hawes and Aitor Arrieta at late notice due to an injury to Emma, lead the opening night cast, which includes Sarah Kundi (Stepmother), Fernanda Oliveira (Edwina, the mean Stepsister),  Katja Khaniukova (Clementine, the meek Stepsister) and Ken Saruhashi (Benjamin)- luxury casting indeed. Members who are going, you know the drill 😄 - have a great time and let us know how it went! Looking forward also to reports from members seeing other casts!

Edited June 15, 2023 by Emeralds

[Bluebird]

Press reviews will, of course, be in tomorrow's links but I couldn't resist quoting from a review that I found in www.theupcoming.co.uk  (my highlighting)

 

"On this occasion, two understudies impressed in the roles of Cinderella and Prince Guillaume, with Erina Takahashi and Francesco Gabriele Frola ably standing in for Emma Hawes and Aitor Arrieta." 

[Jan McNulty]

11 minutes ago, Bluebird said:

Press reviews will, of course, be in tomorrow's links but I couldn't resist quoting from a review that I found in www.theupcoming.co.uk  (my highlighting)

 

"On this occasion, two understudies impressed in the roles of Cinderella and Prince Guillaume, with Erina Takahashi and Francesco Gabriele Frola ably standing in for Emma Hawes and Aitor Arrieta." 

 

Oh dear!!!

[Dawnstar]

You'd think the reviewer could have taken the time to quickly look up 2 dancers he/she was evidently unfamiliar with. Even a very quick glance at ENB's Dancers web page would have revealed that the two "understudies" are in fact of higher company rank than the originally scheduled leads!

[capybara]

22 minutes ago, Dawnstar said:

You'd think the reviewer could have taken the time to quickly look up 2 dancers he/she was evidently unfamiliar with. Even a very quick glance at ENB's Dancers web page would have revealed that the two "understudies" are in fact of higher company rank than the originally scheduled leads!

And Erina Takahashi has been with ENB for 27 years.

Who ARE these critics?

[FionaM]

Serves ENB right for not putting most senior cast on first. 🤣

[Emeralds]

Chuckling at everyone’s reactions. 😆😂

 

A quick glance at their website suggests that the contributors/reviewers aren’t very experienced in the field they are covering or their writing. The website (doesn’t look like a publication) reminds me of student newspapers at college where evidence of writing ability, qualifications  or knowledge of the subject wasn’t required at all, and people would sign up just to score free tickets to performances! I was almost tempted to sign up to be a reviewer (as I was already reading copiously about dance and theatre out of personal interest) but decided not to when I noticed that ROH, RSC & NT weren’t interested in having amateurs review them. 😂

Edited June 16, 2023 by Emeralds

[alison]

Not totally unrelated, but I've just turned on Radio 3 to find some very familiar music.  From the wording on my DAB radio display I did initially think it might be the whole score, but I think it's just a random selection of pieces from the Cinderella score, because it's not referred to as any of the suites.

 

Usual blurb about availability on BBC Sounds, I suppose.

[San Perregrino]

This is a colourful, joyous, swirling, exuberant, humorous production with many opportunities for the principals and other artists to shine. A double corps of 48 and a company totalling some 90 people ensure every inch of the floor space is used and the clever choreography makes them scatter and disappear during the more intimate moments between the main characters. Erina Takahashi & Francisco Gabriele Frola lit up the RAH as did Precious Adams and Daniel McCormick in their débuts at another performance. Both couples dance again this week as will Shiori Kase/Lorenzo Trossello & Ivana Bueno/Aitor Arrieta. 
Prokofiev’s score sparkled from the baton of Gavin Sutherland. 
A delightful outing for all ages. 
 

[Emeralds]

Thanks for the great review of the two casts, @PeterS! 

I saw an enthusiastic review for Precious Adams and Daniel McCormick too, justifying the confidence Watkin had in casting them both, and praise also from critics who saw the first night cast. Looking forward to it immensely (I was before, but even more so now.) 

[Emeralds]

5 hours ago, alison said:

Not totally unrelated, but I've just turned on Radio 3 to find some very familiar music.  From the wording on my DAB radio display I did initially think it might be the whole score, but I think it's just a random selection of pieces from the Cinderella score, because it's not referred to as any of the suites.

 

Usual blurb about availability on BBC Sounds, I suppose.

Thanks, Alison! Will click on the trusty BBC Sounds later on.

[capybara]

1 hour ago, Emeralds said:

I saw an enthusiastic review for Precious Adams and Daniel McCormick too, justifying the confidence Watkin had in casting them both.

How is it known whether or not Aaron Watkin was involved in the casting of Cinderella? His tenure as AD with ENB has not yet begun.

[Emeralds]

27 minutes ago, capybara said:

How is it known whether or not Aaron Watkin was involved in the casting of Cinderella? His tenure as AD with ENB has not yet begun.

His name is on the printed material eg programmes and the website, and even if the repetiteurs were making suggestions or advising about casting, he would still have to authorise it. A recent programme had him signing the “Welcome to this performance” note to audiences rather than Tamara Rojo or Loipa Araujo, who would be the next most senior staff member after the AD. Unless you have insider information, capybara 😉.....that Araujo or someone else is in charge or that Rojo is making decisions from San Francisco without being able to see the dancers. Even if Ms Araujo or another staff member was serving as a caretaker or acting AD, wouldn’t it be acknowledged somewhere, eg like the way David McAllister is Acting AD at Royal New Zealand Ballet (it’s been officially announced and it’s on their website) while they await a new AD? It looks like the buck stops with ASW now rather than Rojo or another staff member.

[LinMM]

I thought he took over as AD in January 2023? 

[capybara]

6 hours ago, Emeralds said:

His name is on the printed material eg programmes and the website, and even if the repetiteurs were making suggestions or advising about casting, he would still have to authorise it. A recent programme had him signing the “Welcome to this performance” note to audiences rather than Tamara Rojo or Loipa Araujo, who would be the next most senior staff member after the AD. Unless you have insider information, capybara 😉.....that Araujo or someone else is in charge or that Rojo is making decisions from San Francisco without being able to see the dancers. Even if Ms Araujo or another staff member was serving as a caretaker or acting AD, wouldn’t it be acknowledged somewhere, eg like the way David McAllister is Acting AD at Royal New Zealand Ballet (it’s been officially announced and it’s on their website) while they await a new AD? It looks like the buck stops with ASW now rather than Rojo or another staff member.

I personally don’t have ‘insider information’ and therefore would not want to make assumptions about who made the casting decisions for Cinderella.

Given your earlier statement, I wondered whether anyone actually knew, but it would appear not.

Anyway, once the 2023/24 season begins, Aaron Watkin will be in charge in all artistic respects and, since his appointment was announced, he has clearly been over here as much as possible getting to know the Company.

[Sim]

On 16/06/2023 at 23:50, Emeralds said:

Chuckling at everyone’s reactions. 😆😂

 

A quick glance at their website suggests that the contributors/reviewers aren’t very experienced in the field they are covering or their writing. The website (doesn’t look like a publication) reminds me of student newspapers at college where evidence of writing ability, qualifications  or knowledge of the subject wasn’t required at all, and people would sign up just to score free tickets to performances! I was almost tempted to sign up to be a reviewer (as I was already reading copiously about dance and theatre out of personal interest) but decided not to when I noticed that ROH, RSC & NT weren’t interested in having amateurs review them. 😂

I wrote to them to enlighten them about the understudies but needless to say haven’t had a response….

[San Perregrino]

Copied across from POB Strike thread

 

its useful to know that the RAH practices ‘dynamic’ ticket pricing so, for example, stalls tickets for tonight which were originally £109 are now £69.

There are also discounts available on TodayTix and perhaps other sites 

[Sim]

I really enjoyed this production last night. Very clever and imaginative.  The whole cast was on good form.  Francesca Velicu and Natasha Mair shone as the stepsisters.  I would love to see Velicu as Giselle next January; I think she is ready.  Shiori and Lorenzo were lovely and have believable chemistry. 
 

However….having seen the recent RB production numerous times, last night drove home to me once again what a choreographic genius Ashton was. 

[Dawnstar]

17 hours ago, PeterS said:

its useful to know that the RAH practices ‘dynamic’ ticket pricing so, for example, stalls tickets for tonight which were originally £109 are now £69.

There are also discounts available on TodayTix and perhaps other sites 

 

I've been looking at tickets for tonight's performance for the last few days but the stalls haven't gone below £72 & there's nothing on TodayTix. Given I was so-so on the production when I saw it in 2019 (for somewhere in the £45 region) I don't want to pay as much as £72 so it looks like I'll be giving it a miss this time around.

[LinMM]

I’ve got the Summer Variation music on my mind as one of the teachers in a class I regularly attend has a really lovely but simple barre adage…complete with hand crossing forehead to show the heat (not difficult to do in last couple of weeks lol) …to this music …which is not easy to hum but becoming ingrained now!! 

[art_enthusiast]

3 hours ago, Sim said:

However….having seen the recent RB production numerous times, last night drove home to me once again what a choreographic genius Ashton was. 

 

Could I ask why in particular? 

 

I'm not going to have the opportunity to see this version of Cinderella due to scheduling, but hopefully will be able to make ENB's triple bill in September.

[San Perregrino]

1 hour ago, Dawnstar said:

 

I've been looking at tickets for tonight's performance for the last few days but the stalls haven't gone below £72 & there's nothing on TodayTix. Given I was so-so on the production when I saw it in 2019 (for somewhere in the £45 region) I don't want to pay as much as £72 so it looks like I'll be giving it a miss this time around.

ive sent you a PM

[Dawnstar]

Many thanks to @PeterS for showing me an offer I hadn't found myself so I'll be going to the ball after all! Going on Friday, as that's the same cast as tonight & it's a bit too last minute for tonight.

[Sim]

2 hours ago, art_enthusiast said:

 

Could I ask why in particular? 

 

I'm not going to have the opportunity to see this version of Cinderella due to scheduling, but hopefully will be able to make ENB's triple bill in September.

Whereas Wheeldon's choreography is perfectly pleasant (and I do like much of his work), it lacks the intricacy, depth of feeling and challenge (e.g. the complicated footwork, proper epaulement, pdd, etc.) of Ashton's work.  Ashton also feels the music so deeply, and this is reflected in the steps he creates, leading to the all-round beauty of his ballets.  

 

Just my own opinion.

[serenade]

43 minutes ago, Sim said:

Whereas Wheeldon's choreography is perfectly pleasant (and I do like much of his work), it lacks the intricacy, depth of feeling and challenge (e.g. the complicated footwork, proper epaulement, pdd, etc.) of Ashton's work.  Ashton also feels the music so deeply, and this is reflected in the steps he creates, leading to the all-round beauty of his ballets.  

 

Just my own opinion.

Totally agree re the choreography, the Ashton is not a perfect production but the choreography is!
 

I saw it on Friday night with Frola and Erina, they were great but the production didn’t really do anything for me to be honest. I liked some of it in terms of the pacing/story telling but I don’t think I would see it again.  I also felt like there was just lift after lift after lift.  I got fatigue with it all by the end 😂 this was my first time seeing the production and first time seeing ballet at the RAH so I think we picked the wrong seats (and sat too close to the action) so I might have enjoyed it more with a different seat but I  really didn’t  feel like Cinderella (or a lot of the women tbh) got to dance much without constantly being interrupted with yet another lift and it spoilt the flow a lot (for me).
 

Although as I said, perhaps we made a faux pas with the seats (we were in the front stalls) it might well have looked more visually impressive from further up.
 

I also think RAH as a ballet venue is perhaps not for me (although I was excited to go for the first time) but I’ve always wanted to see Swan Lake in the round so I will go to that next year. 

 

[annamk]

@Sim  "perfectly pleasant" really sums up Wheeldon's choreography for Cinderella. I'd also add that I found pdd repetitive and full of unnecessarily complicated, awkward lifts. Such a pity because it just didn't enable the two fine dancers (Takahashi and Frola) to shine as brightly as they could have done. 

[LinMM]

So agree with your statement Sim about Ashton feeling the music so beautifully which is why I find a lot of his work very satisfying. 
 

It’s wonderful to also have found a teacher similarly gifted. This same teacher as above has also created a lovely simple centre adage to “Valse Triste” which fits the music to perfection. 
Non of us were able to guess the composer though ….Jean Sibelius!! 
Sorry for this mini diversion but choreographers who really love the music they are creating to are getting rarer for classical ballet I feel. 
 

[San Perregrino]

Did Ashton ever choreograph a ballet for the Royal Albert Hall? 

[serenade]

36 minutes ago, PeterS said:

Did Ashton ever choreograph a ballet for the Royal Albert Hall? 

I don’t think so but who knew RAH at such a long history of ballet being performed there (actually I’m sure many on this forum know but it was news to me 😂)

makes for interesting readjng

https://www.royalalberthall.com/about-the-hall/news/2021/october/1913-today-ballet-at-the-royal-albert-hall/#:~:text=5 June 1913 – Fete and,performed on the main stage.

 

But is the RAH Wheeldon Cinderella choreography much different from his regular version of it? I would still be interested to see that. 

[San Perregrino]

1 hour ago, serenade said:

is the RAH Wheeldon Cinderella choreography much different from his regular version of it?

 The RAH summary says Wheeldon restaged his Cinderella. How much this changed the original version I couldn’t say. 

[Emeralds]

14 hours ago, PeterS said:

Did Ashton ever choreograph a ballet for the Royal Albert Hall? 

Good question. He never choreographed an in-the-round ballet like this one or one of Derek Deane’s (eg Romeo and Juliet, Nhtcracker, Swan Lake).

 

I think the first person to do a full length ballet in the round for RAH was Derek Deane, which itself generated lot of press and discussion at the time about whether this was a good or bad idea and many people saying, “no, it should be seen in a traditional theatre with the dancers facing the audience.

 

I too didn’t want to see a production of Swan Lake, for example, where I thought the dancers would often have to have their backs to me. I didn’t know then that the choreography is altered so that they keep moving a lot more. I changed my mind when Daria Klimentova’s farewell was scheduled to be in R&J at the RAH and Friedmann Vogel was also invited to dance with Cojocaru in that same run, and now I think that if the production is very good, it works.

 

Eg for Cinderella, the original version that Wheeldon did is on DVD (if you didn’t see the Dutch National Ballet bring it on tour to the Coliseum), and you can see the solos and pas de deux are mostly the same but Wheeldon has them moving around more to face three sides of audiences, but the corps de ballet dances look really different, so that they are now “in the round”.

 

However Ashton may well have been invited to choreograph the occasional pas de deux, solo or group dance for a variety show or event at RAH way back  in the past. 

Edited June 22, 2023 by Emeralds

[Emeralds]

21 hours ago, Dawnstar said:

 

I've been looking at tickets for tonight's performance for the last few days but the stalls haven't gone below £72 & there's nothing on TodayTix. Given I was so-so on the production when I saw it in 2019 (for somewhere in the £45 region) I don't want to pay as much as £72 so it looks like I'll be giving it a miss this time around.

Oh dear, that’s a pity, Dawnstar - I booked the day the casting came out and found Stalls tickets for £59 (including fees and charges) for this performance, possibly because the box office team thought midweek was “off peak” and there was a choice of all the rows available and not all the way to the side (side being the sections nearest the orchestra area where the tree is).  But very pleased for you that you managed to find a bargain for Friday’s show thanks to @PeterS.

[alison]

I kept forgetting to mention that one of the best things about this production is the opportunity to hear Prokofiev's glorious score played by an orchestra which isn't hampered by being crammed into a pit It was very impressive from the upper levels.